“Aw, I know you’re awake by now. Come on, sleeping beauty. Talk to me.” The last was a whisper, a lover’s words, and Mira felt that she had to come awake and open her eyes. She tried to sigh, but no breath came. Her eyes flew open in alarm.

An old man was leaning over her, smiling, but Mira barely saw him, because when she opened her mouth to inhale, her jaw squealed like a sea bird’s cry, and no breath came, and she wanted to press her hands to the sides of her face, but her hands wouldn’t come either. Nothing would move except her face.

Rated PG

Show Notes:

Starship Sofa is the first podcast ever to be nominated for a Hugo award, in the “Best Fanzine” category. If you’re eligible to vote in the Hugos, you have less than a month left to put in your vote! Please consider Starship Sofa – it’s a fantastic show on its own merit, and it’s a HUGE credibility booster for all podcasts if it wins!

The Escape Pod Flash Contest ends soon! It runs June 1- July 4, stories must be under 500 words. More information at the link.

Editor’s note: Thanks so much to Dave Thompson and Peter Wood for taking on this project of securing all five Hugo stories during the hiatus of Escape Pod. Most of the work was done before I joined, and this wouldn’t have happened without them stepping up.

But in the normal course of life, our need for air is far from our thoughts, and indeed many would say that satisfying that need is the least important part of going to the filling stations. For the filling stations are the primary venue for social conversation, the places from which we draw emotional sustenance as well as physical. We all keep spare sets of full lungs in our homes, but when one is alone, the act of opening one’s chest and replacing one’s lungs can seem little better than a chore. In the company of others, however, it becomes a communal activity, a shared pleasure.

They would have called her salvage, if there were anyone left to salvage her. But she was the last of the war machines, a three-legged oblate teardrop as big as a main battle tank, two big grabs and one fine manipulator folded like a spider’s palps beneath the turreted head that finished her pointed end, her polyceramic armor spiderwebbed like shatterproof glass. Unhelmed by her remote masters, she limped along the beach, dragging one fused limb. She was nearly derelict.

He went to the Sci-Fi shelf‚Äîand had another shock. I, Robot was there, but not the forgettable action movie with Will Smith‚Äîthis was older, and the credits said “written by Harlan Ellison.” But Ellison’s adaptation of the Isaac Asimov book had never been produced, though it had been published in book form. “Must be some bootleg student production,” he muttered, and he didn’t recognize the name of the production company. But‚Äîbut‚Äîit said “winner of the Academy Award for Best Adapted Screenplay.” That had to be a student director’s little joke, straight-facedly absurd box copy, as if this were a film from some alternate reality. Worth watching, certainly, though again, he couldn’t imagine how he’d never heard of this. Maybe it had been done by someone local. He took it to the counter and offered his credit card.

She looked at the card dubiously. “Visa? Sorry, we only take Weber and FosterCard.”

Shkthh pth kstphst, the shopkeeper said, and Walker’s hypno-implanted vocabulary provided a translation: “What a delightful object.” Chitinous fingers picked up the recorder, scrabbling against the aluminum case with a sound that Walker found deeply disturbing. “What does it do?”

It took him a moment to formulate a reply. Even with hypno, Thfshpfth was a formidably complex language. “It listens and repeats,” he said. “You talk all day, it remembers all. Earth technology. Nothing like it for light-years.” The word for “light-year” was hkshkhthskht, difficult to pronounce. He hoped he’d gotten it right.